'Downton Abbey' creator Julian Fellowes turns his eye from British opulence to New York City circa 1882 for a look at America's empire-on-the-rise starring Carrie Coon, Christine Baranski and Cynthia Nixon.
, his own end-of-empire series, Fellowes approached wealth with more optimism, if only because literally anything would be more optimistic than. His richest characters are often imperious and myopic, monstrous in their lack of compassion and perspective. But wealth is an amplifier, not a definer. The “downstairs” characters in Fellowes’ world can be just as venal, but they’re systemically shackled.
Marian has no money of her own and Agnes hopes to make her an acceptable marriage match, but her standards are very particular because this family represents New York’s old money — proper, entrenched and darned near British. The Russells are new money. They hired the wrong architect. They eat soup at midday. Bertha is way, way too eager to be accepted into high society, and if there’s anything that women like Agnes can’t abide, it’s the uppity nouveau riche.
What glorious pieces they are. Fellowes has raided Broadway’s upper echelon on a level that I’m going to have to guess is unprecedented for a show so young. I’ve mentioned Baranski, Nixon, O’Hara and Finneran, a group in which seven-time Tony nominee O’Hara must’ve felt insecure about her lone win, but that’s barely the tip of the Tony-winning iceberg. Audra McDonald plays Peggy’s mother. Donna Murphy is Mrs.
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